Rolling Stone (5/13/99, p.72) - Included in Rolling Stone's "Essential Recordings of the 90's."
Rolling Stone (6/24/93, p.78) - 4 Stars - Excellent - "...touches R&B, hip-hop, soul, funk, rock, house, jazz and opera with the singer's pop sensibility....The princess of America's black royal family has announced herself sexually mature and surrendered none of her crown's luster in the process..."
Q (7/93, p.94) - 2 Stars - Average - "...There's enough for a string of singles, but as a serious post-rap soul contender it pales next to today's techno-literate 19-year-olds. And as proof of maturity, this 75 minutes of risibly relentless rumpo will probably only fool her brother..."
NME (Magazine) (5/29/93, p.31) - 8 - Excellent - "...a bold, slick plaything, this is as good an album as any Jackson has made...."
Personnel: Janet Jackson, Kathleen Battle (vocals); Chuck D (rap vocals); The Flow, Jimmy Jam, Terry Lewis (various instruments, programming); Dave Barry, Frank Stribling (guitar); David Eiland (alto saxophone); Kenneth Holmen (tenor saxophone); Bernie Edstrom, Robert Hallgrimson, Steve Wright, Jeff Gottwig (trumpet); Steven Pikal (trombone); Larry Waddell (Hammond organ); Jimmy Wright (keyboards, background vocals); Mark Haynes (bass,
drum programming); Stokley (drums); Jossie Harris, Tina Landon, Ann Nesby, Jamecia Bennett, Core Cotton, Marie Graham, Jeff Taylor (background vocals); Sounds Of Blackness.
Producers: Jimmy Jam, Terry Lewis, Janet Jackson, Jellybean Johnson.
Recorded at Flyte Tyme Studios, Edina, Minnesota.
Janet Jackson's performance of "That's The Way Love Goes" was nominated for a 1994 Grammy Award as "Best R&B Vocal Performance, Female."
"That's The Way Love Goes" (Janet Jackson/James Harris III/Terry Lewis) won the 1994 Grammy Award for "Best R&B Song."
With JANET, the crown princess of the Jackson family steps out from behind her carefully buffed image to create a sensual new musical persona for herself. Producers Jimmy Jam and Terry Lewis play cat and mouse with modern R&B forms by juxtaposing classic Motown samples (the Supremes on "You Want This" and "If") and Jackson 5 harmonies against slamming dance grooves, as echoes of girl group innocence crash head on with Janet's willful sexuality (to particular effect on ballads like "Where Are You Now" and "The Body That Loves You").
Janet Jackson's ambition rises to the level of her talent on a number of JANET's songs. On "This Time" a tender acoustic overture (punctuated by Kathleen Battle's elegant operatic soprano) gives way to a dark dance track and tales of love gone sour, while her moaning hyperventilations on "Throb" would give Donna Summer pause, as Janet imparts a sleek hip-hop aura to the traditional disco groove. Elsewhere JANET mixes and matches different genres with grace and good humor, from the Stax/Volt country funk of "What'll I Do," to the jitterbugging dance lines of "Funky Big Band" and the stand-up-and-be-proud shouts of "New Agenda." JANET backs away ever so slightly from the hard dance grooves that originally cemented her reputation, to focus instead on her emerging depth as a ballad singer and canny pop-diva.